MARINA EISENHAUER 2021 Portfolio
MUSEUMS AND EXHIBITIONS
PORTRAIT POSITIVE The project is a photography exhibition part of the “Portrait Positive” campaign, which collaborated with world-renowned photographer Rankin and designer Steven Tai during London Fashion Week 2018. The aim was to challenge perceptions of beauty through a series of striking images featuring 16 women with visible differences. The photography exhibition is the spatial manifestation of the campaign at Central Saint Martins’s Lethaby Gallery. The design narrative was based on the concept of “embracing uniquenesses”, creating an audience journey that engages the visitor to feel connected to the model’s stories by reflecting on the uniquenesses of their own bodies.
MA Narrative Environments Live Project 2020 CSM, London Link for experience storyboard
A path of questions about beauty standards guides the visitor experience, starting on the outside of the gallery, on the pavement from Kings Cross to the Gallery.
models stories
The thread of questions continues inside and follows the visitor throughout the portraits. In the middle of the room, an immersive space is found in which the model’s voices narrate their own stories. After the experience the visitor can record their own story and have their own picture taken, which will be added to the exhibition afterwards at the final wall.
audience stories
PUBLIC SPACE | EXPERIENCE DESIGN
DICKENS MUSEUM The project is an Augmented Reality experience aiming to create wider audience engagement with the Dickens Museum. The experience is based on an AR treasure hunt after the writer’s notebooks that were lost around his neighborhood. The audience has to find the books with the short stories around the area and “bring them back” to Dicken’s home: The Dickens Museum. In collaboration with local young people from Holborn Community Centre, five short stories were created and each one linked to five different locations chosen from the Dickens topography (places mentioned in his books, that existed then and that we can still visit now and that reference past and present social issues.) A distinctive blue notebook is placed on the railings of each of the five locations, triggering the curiosity of passers by. The object also contains a movement sensor that plays sound when someone is near. Once the object is approached, a QR code invites people to access the AR experience and begin the treasure hunt.
Academic Live Project 2020 Central Saint Martins and The Dickens Museum London link for the experience video
begin your journey below read the rules and hit play!
you are here!
Meckelnburgh Square
1. Scan the QR code on the blue notebook Intro
Clues
Museum
2. Open the Website
4.
3. Charles Dickens
animated story
explains the game
Pick your next location...
Relief “You can help”
The local young people from Holborn Community Centre developed 5 stories around the themes of home, belonging and social justice, always following a Dickesian tone.
Location
Content
The “Wow” Moment
Raising Awareness
Emotion
Action
Finding Notebooks
Bringing them “Home”
How you can help
Inter vention Time
Emotional Map of the User Experience
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pages in between
Repeat steps 3 and 4 until reaching the museum
6. Dickens welcomes you!
SET DESIGN
ANITTA | VENENO For Anitta’s music video “Veneno” (Poison), the main idea was to use live snakes as symbols for poisonous situations, in five different scenes. Here I show the process of two of these scenes: “Luz del Fuego” and “Poisoned House”. The “Luz del Fuego” scene is a tribute to Dora Vivacqua, an important figure of the Brazilian feminist movement in the 1940’s. She was also one of the first Brazilian naturalists and often performed with snakes. For the “Poisoned House” we created a place that gathered women and snakes in an unhealthy and poisonous environment, representing the suffering caused by sexism. In these projects I collaborated with the initial research and development of the first concepts, was responsible for the architectural drawings (2D and 3D) and for managing the construction of the sets.
Assistant Production Designer | Marina Eisenhauer Production Designer | Carol Ozzi Production Company | Barry Co. 2018 | São Paulo - Brazil Link for the music video
Inspired by the set of a famous performance by Dora Vivacqua, our goal in this scene was to recreate the mood and the shapes of the original version but with a contemporary approach. We also needed a space that would dialogue with the dancers that would be performing around Anitta. The choreography concept was based on a “Circle of Women” that would bring strength to one-another. A circular tent made of ropes creates an arena for the dancers while resembles the snake-like shapes and movements on its structure. A hanging-tree is the background for the scene, representing the growing life and hope even on these arid situations. hanging tree
ropes
metal frames
circular metal base
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
The architecture was based on a maze, a place where these women would easily get lost. We also focused on creating rich textures and colors for the wooden panels, searching for a “neoclassic in decadence” and “ruin-like” result.
The intention of the “Poisonous House” scene was to show Anitta and other women in this unhealthy environment, singing and dancing to get stronger and finally escape.
PRODUCED BY AN AUTODESK STUDENT VERSION
SET DESIGN
SKY | COFFEE BREAK For this SKY campaign our team had to create a series of scenes where Giselle Bundchen would interrupt the “workbreaks” from famous movie characters, calling them back to “work”. The first one was a romantic dinner in which Catwoman and Black Panther would be drinking milk and eating cat food together, only until Giselle Bundchen interrupts it. The second film shows Chewbacca, the Star-Wars character, having his hair done by a hairdresser. The third film is set on a Game Of Thrones based environment, and the characters are playing charades on their break. In this project I collaborated with the research for references and development of initial concepts, was responsible for the architectural drawings (2D and 3D) and also worked in the construction management of the sets.
Assistant Production Designer | Marina Eisenhauer Production Designer | Carol Ozzi Production Company | Saigon Filmes 2018 | São Paulo - Brazil Link for the video “Cat Dinner” Link for the video “Game of Thrones”
space concept, flow and movement diagrams
designed for the project art deco space-divider
designed for the project art deco couch
chosen objects and furniture
We chose to use art-deco style in architecture and objects, creating a French restaurant with a warm color palette.
The dark walls and low-lighting contrast with many points of light that come from small lamps distributed throughout the space. All these elements build up the intimate atmosphere the scene asks for.
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3D visual of the project
For Chewbacca’s scene our team found inspiration in 5060s hair salons. With its curved forms, the architecture and furniture design brought out coziness and intimacy.
designed for the project vintage bench
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designed for the project hairdresser stand
designed for the project hairdresser counter
The color palette is fresh, with lots of green and beige, but indispensable splashes of warm pinks and reds are present to create contrast. Vases with flowers and foliages also help to design an environment with a pleasant and relaxed mood.
PUBLIC SPACE | SET DESIGN
THEATRE IN THE CITY The project aimed to explore the possibilities that the urban environment provides as scenography and space for performance and, on the other hand, how art can act as a tool to change the uses of city spaces. The work had both theoretical and practical parts. For the practical project I developed three scenographic urban interventions based on scenes from Virginia Woolf’s 1925 novel “Mrs Dalloway”. I chose specific moments to synthesize the story and brought them to the context of my city: São Paulo. The first intervention represents the opening scene of the book, when Clarissa Dalloway leaves her house to buy flowers and meets an old friend while crossing St James Park. In São Paulo, “Augusta Park” was the place I chose for this encounter. The second scene is the one at the Mulberry Flower Shop and for this moment the “Oscar Freire Square” was the perfect fit. The third scene was Septimu’s suicide. In São Paulo, the place for this to happen would be the “9 de Julho Belvedere”.
Final Thesis Project 2016 FAU USP | São Paulo, Brazil
1 Augusta Park
2 Oscar Freire Square
3 9 de Julho Belvedere
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Historical City Center
1 Augusta Park | St. James Park
In this first scene, Mrs. Dalloway leaves her house to buy flowers for her party. While she walks around the streets of London and crosses St. James Park, her childhood memories are brought back after she meets an old friend. Clarissa feels very nostalgic and remembers how she used to “love life” in the countryside. The set intervention for this moment should bring up dreamlike sensations, feelings found in children’s’ dreams and fairy tales. For these purposes, the ”Casinha” (little house) at Augusta Park, was the perfect location.
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2 Oscar Freire Square | Flower Shop
The second intervention was inspired by the Flower Shop scene, when Clarissa Dalloway window-shops in Bond Street. In these path, Clarissa thinks about the futile society in which she lives and how unimportant these upper class matters are before our ephemeral lives. At this same moment the author describes Septimus, a traumatized and depressed character, walking around the same place. The set design for this scene had two parallel paths: Clarissa’s one is on the upper level, with warm colours and many possible exits. The other one, for Septimus, is on the lower level, with a pale colour, where the character would feel confined, vulnerable and always exposed to the public.
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3 9 de Julho Belvedere | Septimus’ Suicide
The third scene was Septimus’ Suicide. The scene begins with Dr. Holmes, Septimus’ doctor, that unexpectedly arrives at his house. The patient feels threatened and, in a panic attack, jumps out of a window. To build this moment’s atmosphere I searched for a place that was astonishing spatiality and that could cause discomfort, dizziness and vertigo. The “9 de Julho Belvedere” was the chosen location. The set design guides the sight though a red tunnel, focusing the attention and forcing the perspective towards the busy and dangerous avenue below.
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PUBLIC SPACE
INFOPOINT With the goal to design an itinerant Information Point for the Rio de Janeiro Olympics at Copacabana beach, our team went for an extremely light structure that should be easy to assemble and disassemble. The modular project is composed by wide, open and multi-purposed spaces. The fluidity and continuity of the rooms optimize the uses and create places of permanency. The roof shapes interesting shades, playing with those underneath it while protecting them from the sun. The main circulation and exhibition spaces are located in a big ramp and as the visitor descends it, their sight is naturally attracted to the sea that is revealed at the end of the path.
Architecture Students’ Competition Team Member 2016 FAU USP | São Paulo, Brazil
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wooden beams assembled by cranes
photovoltaic panels
woodframe and cement flat sheet panels
magnectic cards open the external lockers
steel finishings protect the pillars from humidity
footings - concrete foundation
wooden deck floor
transverse section
longitudinal section
PUBLIC SPACE
HEALING STREETS In the UK, The National Domestic Abuse Helpline have reported an increase of around 66% in calls and contacts during the pandemic period. Aiming to tackle this sad reality, Healing Streets creates a series of urban interventions that encourage gatherings, connection and exchange among women living in West Euston, North London. To show local women they are not alone, the project brings the discussion into the public realm. With spatial design, events and activities at the local park, Cumberland Market, it creates a home environment in the public space. The project happens in front of a playground where local women gather every afternoon. At 3.30pm they bring their children to play after school and dwell in that space, being the only moment some of them had outside their houses during the pandemic.
On 29/05/2021 a prototype event was organised with local NGOs, community leaders and local women to test some of the elements of the project. The event was successful and the documentation can be found via the link on the right.
MA Narrative Environments Final Project 2021 CSM, London Link for project video
project area Hpod community centre
The objects and furniture create a community kitchen that aims to facilitate gatherings and socializing opportunities outside the home.
50cm
90cm
115cm
50cm 90cm
A bespoke rug has the message “no woman is alone” in English and Bengali, due to the high percentage of Bengali women in this community.
50cm
A card game is available to be played by the audience in the Living Room. The cards subtly spark conversation about feminism, sorority and abusive relationships since players are invited to interpret artworks and poems around these themes. 45cm
126cm
50cm
Thank you. links for more of my work: - set design/art direction - architecture/spatial design
for contact: +44 7926118531 marina.e.albuquerque@gmail.com